Summary

Daffy wants to be the top star in the studio. To this end, he persuades Porky to resign from the Schlesinger studios to pursue a career in feature films as Bette Davis' leading man. Porky goes to Leon Schlesinger and asks to have his contract torn up. Schlesinger reluctantly agrees, and wishes Porky the best of luck. "He'll be back!" chuckles Schlesinger after Porky is out of earshot.

The rest of the short involves Porky trying to get into the lots and sets of various un-named studios, all with the same degree of success (none, that is). After several failures, he decides to see if Schlesinger will take him back. He returns to Schlesinger's office after frantically dodging his cartooned car in and out of "actual" Los Angeles traffic, a situation mirrored in Who Framed Roger Rabbit five decades later, only to see Daffy doing a wild audition to become the new star of Warner Bros. cartoons. He invites Daffy out to have a "talk" with him, but he actually beats Daffy up. After Porky gets his revenge on Daffy, he hurriedly runs into Schlesinger's office to beg for his job back. Schlesinger, laughing heartily and saying "I knew you'd be back!", reveals that he didn't really rip up Porky's contract, and tells him to get back to work. Porky gladly runs back into the animation paper that he was in when the short started. Daffy, still not quite having learned his lesson after being beaten by Porky, again attempts to persuade Porky to resign and work with Greta Garbo, only to get splattered with a tomato.

Production

In a real-life parallel of the storyline, the short was Friz Freleng's first since returning to Schlesinger after a stint as a director at MGM's cartoon division.

Henry Binder, Paul Marin — stagehands also calling for quiet. Binder is also the stagehand throwing Porky off the set

Because the animation unit did not have access to location sound recording equipment, all of the live-action footage was shot silent. The voices had to be dubbed in later (which is why most of them were dubbed by Mel Blanc).

To keep the short on-budget, relatively few special effects were used to marry the animation and live action. Where possible, the crew simply took still pictures of the office background and had them enlarged and placed directly on the animation stand.

Despite being in black and white, this short was shown regularly on Looney Tunes on Nickelodeon especially during the Nick at Nite version.

In 1995, the film was computer colorized and became a regular part of the Cartoon Network rotation. The film could also be seen in its original black and white form on the short-lived "Golden Jubilee" video collection of the mid-1980s, Cartoon Network's installment show Late Night Black and White, and Nick at Nite's Looney Tunes on Nickelodeon.